If something is good, you must torture it mercilessly until it is either dead or great.
BRIAN ENOIn England and Europe, we have this huge music called ambient – ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.
More Brian Eno Quotes
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In my normal life I’m a very unadventurous person.
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Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.
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Make an exhaustive list of everything you might do & do the last thing on the list.
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The vinyl commands a certain kind of reverence because it’s a big object and quite fragile so you handle it rather carefully, and it’s expensive so you pay attention to how it’s looked after.
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It’s nice, I think, when people use your music for things you didn’t think of.
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I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it – like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music.
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I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.
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Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing – ‘Oh, let’s put that sentence there, let’s get rid of this’ – have become commonplace in films and music too.
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There’s a kind of edge to what you’re doing, the kind of leading edge of what you’re doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. “I’ve pulled that one out before. Oh, no, I can’t I’m just fed up with that.
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It infuriates me that stuff from the Internet routinely doesn’t include all the credits. Because as soon as I listen to something, if I like it, I want to know, “Who’s the bass player?” “Who did that?” “Who’s the engineer on this?
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Most game music is based on loops effectively.
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Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
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Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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The tools are evolving, and people’s interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness.
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Try to make things that can become better in other people’s minds than they were in yours.
BRIAN ENO